廢餘美學──論六朝辭賦中的微物、醜物與剩餘物

Waste Aesthetics - The Study on the Tiny, Remainder and Peculiar Object of Six Dynasties' Fu

六朝向來以政治黑暗，士族門第森嚴，時局動盪不安著稱。過去文學史多側重此時期模擬、華麗的形式主義與唯美文學，認為此時期的作品多半雕飾繁複、千篇一律。事實上六朝創作者確實在美學傾向以及其背後的文化意涵上，與前代有著顯著的差別。以辭賦來說，「詠物」題材至六朝大為盛行，而在詠物之中，有幾類較為特殊的題材，包括「微物」、「餘物」、「醜物」甚或是「有害之物」成為辭賦家獨具匠意的構造。「詠物」題材的範疇看似擴大了，但這樣的擴增中包含了是一種異樣的審美心態與文化意涵。故本文試圖從「廢」「餘」美學著手，點狀式搜尋六朝辭賦中這些獨特的、關乎詠物、閒居等題材與體例，將之試圖從一種殘餘、零餘的美學角度切入，並追求詰問其後的新變意識、寫作心態、時代與作者之間的呼應關係，以及廢餘書寫辯證到最終的隱喻所在。

The six dynasties have always been famous for their political darkness and social unstableness. In the past, literature histories emphasize more on the sumptuous formalism and aesthetical literature, thinking that works in this period are mostly heavily elaborated and follow the same pattern. Actually, there is a significant difference in aesthetical leaning and cultural content between writers in the six dynasties and those before them. Take Ci and Fu as an example, Dinggedicht articles became popular in the Six Dynasties. In Dinggedicht, some types of the topic are very exclusive. For instance, tiny objects, remainder objects, peculiar objects, or even pernicious objects became unique features of Fu writers. Although the topic of Dinggedicht seems to have increased, it belies entirely new aesthetics mindset and cultural features. This article, therefore, tries to analyze through the aesthetic value of ＂waste＂ and ＂remainder＂. By searching for Fu topics that are unique, Dinggedicht featured, or seclusive throughout the six dynasties, the author reanalyzes their consciousness, writing mentality and the relationship between those writers and their era. Last but not least, the author includes the final metaphor of ＂waste＂ and ＂remainder＂ dialectical writing.